The so-called dialogue is not a dialogue between multiple people in the same space. The film uses a car phone to achieve these dialogues. Except for the protagonist Iran, the audience can't even know the appearance of other characters. It can be said that the film is a one-man show starring Tom Hardy. He has shown so much life and emotions by himself, so that the image of such a senior overseer penetrates into my heart, and uses the emotions of the characters to drive the emotions of the audience, and firmly captures me.
More spoilers will follow.
The scenes of the construction site at the beginning of the film gave me an illusion. The big scene and the magnificent foundation pits misled me. I thought it would be a thrilling Hollywood-style film. Later I realized that this idea is very different from the actual film. Far, this is precisely a realistic film close to the lives of ordinary people. Although there are still enough drama conflicts, it does not exceed daily life, and there is no exaggerated pursuit of explosions and shootings. There are a series of films in the UK that have such themes, and I have to say that they are very much to my taste.
The first call Iran made was to a woman named Bethan, but the other party did not answer. Iran left a message in the other party’s voice mailbox, confessing Iran’s destination, and the "doctor" was mentioned in the message, so I started Guessing the identity of Bethan and the relationship between her and the protagonist, now looking back, she left an unknown at the beginning, to attract the audience to continue watching, which can be regarded as a relatively clever way for slow-paced films with few scenes. After all, Hollywood blockbusters sometimes make our minds unable to tolerate any content and waiting.
The constantly broadcast and answered phone calls show us more and more content, starting from family, work, the woman that Iran is about to meet, and childhood. Similar to a multi-line narrative film, the film story extends in four directions. And their starting point is the protagonist Iran who has been driving forward.
These four directions reveal some of Iran’s internal and external lives: fifteen years of a happy family with two children, but Iran has always been a workaholic; Iran is an excellent supervisor and is very good to the workers. He has worked for the company. Nearly ten years; "Tomorrow" will be an important day for the company. It will complete the largest concrete pouring in Europe, which has a bearing on the company's future; Iran’s childhood was not accompanied by his father...
What is worth talking about is the revelation of childhood. The other three lines are all portrayed by telephone, but childhood is different. In addition to one of the conversations between Iran and his wife Katrina, the resentment of Iran towards his father can be found. The film all confessed Iran's words to his imaginary father (maybe the accusations of abuse are more accurate). According to the plot, Iran’s father is dead, and it is difficult for people who have died to express on the phone; if the script is changed to say that the father is not dead, the sudden call from the irresponsible father is not so logical, and the theme of "responsibility" It is a good link between the late father, the story line, and Iran's childhood, making Iran's image more plump and making Iran's actions more reasonable. The act of venting one's dissatisfaction to non-existent people is also in line with daily life. After being humiliated by the police in "Sunny Day", Ma Xiaojun looked at the mirror cruelly. Probably many of us do this occasionally in our lives.
This line of Bethan can be regarded as the reason for the development of the story. Because Iran needs to drive to the hospital to accompany Bethan to produce Bethan, he cannot check the preparation of the construction site, cannot be there when the watering tomorrow, cannot go home to watch the football game with his wife and children; and Bethan His child is the product of a one-night stand with Iran. Iran will tell his wife the truth and will face Katrina who knows the truth.
After the initial phone call was revealed, the unknown that attracted the audience was gone, but I was still willing to watch the film, because at that moment, I cared about the Iranian construction site, the guidance he gave Donal, and how he handled Katrina's relationship. , Cares how Gareth will deal with him...
All the interrelated stories happened in a small car, and we can only see Iran alone, the performance time is also very short (almost as long as the actual time), that is, the length of the journey from the construction site to London. In this car, Iran experienced anxiety, anger, disappointment, ecstasy, despair and sorrow, but he was still moving forward. Even if he was about to lose everything, he had to fulfill his responsibilities.
At the end of the film, Iran finally drove off the highway and arrived in London.
He connected to the call from Bethan, and on the other end of the phone came the cry of the baby. A new life was born. This kind of new life was swept away by the various changes that Iran encountered on this night, and everything was worth it. At this time, if the guitar melody that had existed before became clear, accompanied by the cymbals, the occasional snare drum foil, the keyboards humming, and a pleasant main melody...Iran turned on the right turn light and drove forward. , The camera lifts up-the city lights in the night sparkle. Although I encountered a lot this night, I suddenly had a lot of belief in my heart, and it seemed that Iran would solve all problems by tomorrow morning. The end of the film undoubtedly brings a lot of positive meaning to the film. I seem to see countless ordinary people who have encountered setbacks, still moving forward indifferently.
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